Reverse Shot A different angle on moving images—past, present, and future

Scorsese and Lumet, making the first and only movie musicals of their respective careers, would use the genre as a lens through which to present lively, fantastical, and critical takes on the city both men called home.

For those weaned on the cropped and cluttered television version of The Sound of Music, the widescreen view on film, in its full form, is like a breeze of crisp Alpine air.

Spielberg’s most naturalistic, emotionally penetrating work was made in the 1980s with cinematographer Allen Daviau, who shoots with a devotional warmth rarely seen in films as scrupulously designed as Spielberg’s.

Biggest Critical Head-Slapper, Worst Opening/Closing Scene, Worst Font, Most Defensive Director, Biggest Favor to Critics, Best Supporting Actress, Best Bad Sex, and much more

Dallas Buyers Club, Only God Forgives, American Hustle, Touchy Feely, This Is the End, The Counselor, Star Trek Into Darkness, At Any Price, The Way Way Back, The Family, Admission

To the Wonder, Before Midnight, Inside Llewyn Davis, Museum Hours, Like Someone in Love, Frances Ha, Post tenebras lux, Viola, Beyond the Hills, The Act of Killing

Stanley Cortez’s cinematography is the glow of unbalance and neurosis, of fissures widening across psyches.

The four films that Eric Rohmer made with cinematographer Nestor Almendros between 1967 and 1972 are the major works of the director’s Six Moral Tales.

The Tenant; Burn, Witch, Burn; Tourist Trap; Trilogy of Terror; Ganja and Hess; Dead of Night; The Blair Witch Project

Magic Mushroom Mountain Movie, Around the World (aka Speedy Speedy California Sky), Liahona, The Invisible World, Movement in Squares, Figure-Ground, murmurations, Falling Notes Unleaving, Ten Notes on a Summer Day

Reinstating Halloween from the nation’s living rooms to the big screen where it really belongs, gives audiences a clearer look at what makes a consummate frightener.

Coming to Michelangelo Antonioni’s L’avventura today means having to strip away a great many preconceptions.

For a film so widely beloved, Singin’ in the Rain is truly mischievous, the ultimate expression of a genre that is more about spirit than cause-and-effect narrative relations.

In addition to being the most visually striking of Anderson’s six movies to date, There Will Be Blood might be the most visually striking American feature of the last decade. Or two, or three.